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Here's a great excerpt from a Barry Harris workshop where he introduces an interesting diminished concept, which he (jokingly) calls his 'personal scale'. It produces a very cool jazz sound by a quite unexpected means. The video is a bit piano-focussed so I thought it might help some guitar players to have a summary from our point of view of the main idea. Here's the video: The scale is in fact just a major scale with an added b6 or #5, so it's spelled like this: 1 2 3 4 5 b6 6 7 C D E F G G# A B More exotically, you could think of this as Harmonic Major with an added natural 6. You may think this is perverse, since the other way is clearly simpler, but in fact that b6 contributes a very strong Harmonic Major sound.
You can find full guitar fingerings for this scale on page 298 of the current version of - if it's not there, search for the interval map 't, t, s, t, s, s, t, s' and you'll find it. However, he explains it in a quite different way, noticing that a cover of the scale is given by the C6 and Bdim7 arpeggios C E G A + B D F G# This is what I call a 'disjoint cover' because the two parts share no common notes.
Adding a note to the major scale is quite easy, of course, but it will tend to lead you to play in a scalar, stepwise way; this way of thinking encourages you to see the underlying chord as the C6 arpeggio and the tension notes as the Bdim7, which is easy to find in relation to it. You can, of course, use this on any Maj7 type of harmony as well as on chords explicitly written with a 6.
So one way to think of this is 'On a Maj7 type of chord, play the diminished arpeggio built on the 2, 4, #5 or 7. Being a pianist, though, Barry shows us a bit more when he moves to thinking of it in terms of chords.
I just purchased The Barry Harris Harmonic Method for Guitar by Alan Kingstone, and I started going through the harmonized scales at the beginning of the book which are four different inversions of a major (or minor) sixth chord interspersed with diminished chords. I'm curious as to how you would use this scale in the context of comping; since the scale is asymmetric, it's different depending on which sixth chord inversion you start on. Are these scales designed to illustrate a theoretical concept, or would you actually use them while comping; and if the latter, does it matter which inversion you start on in a given situation? Thanks, Jonathan Gerry 11:03.
Kingstone might well address this more expansively. I actually use them while comping, as I consider one of the approaches in comping to be, in essence, a thickened line working in concert and contrast to the vocalist/soloist.
It doesn't matter where you start, but it matters how you start. You can start an accompaniment with a leading tone to a chord, say a VII function or a diminished chord 1/2 step below the intended chord.
But logically you don't hammer than for a bar before resolving. I say that only as a general concept.
So no, just as with any line, it doesn't make any difference where you begin or end, but how you say what you intend to say with the line. There will be no economic recovery without addressing taxes: A. Kingstone 11:41. Jonathan: The primary idea of the Six Diminished Scale (or Minor Sixth Diminished Scale) is to get moving, orchestrating if you will your comping. Gerry is correct in saying it doesn't matter where you start, which inversion you begin with.
The easiest application is using the Maj6o Scale when you read a Major chord on your chart. Same for Min6o when you play a tonic minor chord. The next step is to think of the corresponding Maj6o scale that goes with other chords found in charts. For example, Am7 on the chart, start pushing around C6o. It took me a while to start thinking 'sixth/sixth/sixth' as opposed to minor seventh or minor seventh flat five. If you want to start working with progressions look at the chapter 'Playing With Your Sisters And Brothers' starting on page 39.
Pay attention to the suggested rhythms and you can start playing II/V/I's using the Sixth Diminished Scales. Feel free to ask more questions here or contact me directly at the address in the front of the book. I hope you find Barry's work opens up your playing as it has mine.
Alan Jonathan 12:15. I just got the book too. Very good stuff.
Some of these concepts are also addressed in Rick Stone's articles in JJG, which are viewable at Rick's website. I think one reason they sound good regardless of which sixth chord inversion you use/start on is that you are always simply essentially going i-V7b9-i (etc.) for either the minor one or the major one. That's pretty much always going to sound good to the western ear. I heard Shearing once describe how he harmonizes his locked hands style and he pretty much said the exact thing that is in this book. I can't say how good that makes me feel. I generally assume that I am shouting down a well most of the time, what a shock to find there's actually somebody down there. It's particularly nice you cited those two books, because in conjunction with Barry's Guitar Improv, I consider them unacknowledged master-works.
Barry Harris Harmonic Method For Guitar Pdf
It's true that Chuck's chord book isn't really so much ground-breaking as it is a consolidation of stuff one is likely to find it bits and pieces, all over the place located in one simple, hard to heft, vessel. When I studied with Barry there were a couple of one-liners that both shamed and inspired me. He said something about triads which I was dimissive of. He asked if I knew my triads. Of course, I said, but found them worthless.
I had spent a few months years before with the Johnny Smith books and he takes some pains with them. I found them tedious and irrelevant. Barry asked me to play some, which I did very incompetently. He told me simply, 'I think you only know.OF. triads.' He told me to go learn my triads and all inversions of seventh chords in all positions and all keys. It was a one-liner: Go ahead-go do that.
But he was so dismissive that it sorta shamed me. It's like he wasn't going to waste valuable teaching time with something that simple that I should already have done. If I knew what they were, and I could pick them out, I should go burn them in and not bother him with the details.
In this regard I found Wayne's book really helpful, though it came after the fact. I sure wish it had been out there when it could have saved me a lot of time. And though I did a lot of work with triads a number of years back, I'd recommend anyone with the spare cash (it ain't cheap) to check out Billy Bauer's numerous books which cover that, but with some discipline (more than a little) you can work most of it out on your own. It's.applying.
them low in personal conception that still makes me want to write a book of etudes, like Guitar Improv, that demonstrates this. As good as the Bauer books are, and as inclined as they are to a certain mechanistic and soul-less kind of etude, they don't approach the real-world applicability with triads that Guitar Improv does with lines. Thirty-five years later I still think the admonishment to burn triads in, though it took me much longer that I'd care to admit, was the best advice. I probably work.with.
triads, directly or indirectly, now more than ever before. On 2012-02-21 16:25:56 +0000, TD said: Methods are like blood pressure medications.
You have to monkey around with the brands, let alone the dosage. It's personal. One man's good is another man's blah and vice versa.
A great simile: Just as I was saying about the Johnny Smith take on triads; rejected as pariah in one configuration, later embraced as a panacea. A simile always demonstrates something useful while contradicting it though. In the case of methods and reference books, for example, many don't process the books at all, so it's unlikely they'll find the proper brand or dosage. That may be worthwhile too: Those folks tend to go with repertoire instead.
Joey Goldstein 10:32. My take on the Barry Harris harmonized scales stuff: There are various possibilities for harmonization of passing tones (tones that serve as a bridge between the adjacent chord tones of a 7th chord). One method simply replaces the chord tone directly below the passing tone with the passing tone.
C E G A C E G B E G A C E G A D G A C E G A C F A C E G. Another method involves using chords comprised of diatonic neighbour tones to form a passing chord. (A 'passing chord' is simply a chord consisting of several passing tones at once.) E.g. C E G A (C6) D F A B (Dm6) E G A C (C6/E) F A B D (Dm6/F) G A C E (C6/G) G B D F (G7/A) A C E G (C6/A) Notice that each of the above passing chords contains 3 passing tones but also has one of the tones of the original chord.
The method that BH starts out with involves a modification to the immediately above technique. By using a chromatic passing tone between G and A we can create passing chords in which all 4 tones are passing tones. C E G A (C6 or Am7/C) D F Ab B (Bdim7/D or G#dim7/D) E G A C (C6/E or Am7/E) F Ab B D (Bdim7/F or G#dim7/F) G A C E (C6/G or Am7/G) Ab B D F (Bdim7/Ab or G#dim7) A C E G (C6/A or Am7) B D F Ab (Bdim7 or G#dim7/B) This is equivalent to sticking the inversions of Bdim7 (or G#dim7) in between the inversions of C6 (or Am7).
Bdim7 C6 is VIIdim7 I6 in C major. G7b9 = Bdim7/G so there is also a V7b9-I6 thing going on here which adds strength to the process.
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G#dim7 Am7 is VIIdim7 Im7 in A minor. E7b9 = G#dim7/E so there is a V7b9-Im7 thing going on here which adds strength. But you might find it easier to visualize these passing dim7 chords as being rooted on the note that is a whole step above the root of the chord being embellished. C6 Ddim7 C6/E Ddim7/F, etc. The dim7 passing chord idea is a pretty common way to harmonize passing tones that goes back to Common Practice Period classical music. It's also fairly common to reverse the polarity of the two chords, so to speak, so that over a V7 chord we might use inversions of C6 between the inversions of Bdim7 or G7b9 (or inversions of Am7 between inversions of G#dim7 or E7b9). IMO What BH does that is different, new and interesting is to treat the entire process as being driven by an actual scale (C D E F G G# A B C) and then utilizing some other less symmetrical harmonizations of the scale.
BH advocates using one or more of the tones of Ddim7 within your C6 voicings and/or one or more of the tones of C6 within your Ddim7 voicings.This. process can help you discover all sorts of unusual (and therefore harder to assimilate) harmonies that are quite uncommon.
And yes, these ideas are actually used in comping. If you want it to sound like you're decorating a static C6 (or Am7) chord then normally you'd place the inversions of C6 (or Am7) on the strong beats and use the inversions of Ddim7 (or Bdim7) on the weaker beats as approach chords into the inversions of C6 (or Am7) - Joey Goldstein danstearns 13:50. On 2012-02-21 18:32:05 +0000, Joey Goldstein said: And yes, these ideas are actually used in comping. If you want it to sound like you're decorating a static C6 (or Am7) chord then normally you'd place the inversions of C6 (or Am7) on the strong beats and use the inversions of Ddim7 (or Bdim7) on the weaker beats as approach chords into the inversions of C6 (or Am7) That's certainly one way to consider the ying/yang 'clave' aspect of harmonic logic. And a great one to consider while developing an guitaristic approach to of inversions and tensions. Still, I like to think of the movement of inversions (their adjuncts) in driving a secondary line.
In order to do that well, you have to harmonize a lead line wherever it takes you; that's the demanding aspect of voice-leading, and the part I love best when I can pull it off. Joey Goldstein 15:21.